Every musical form has had an impact on the linguistic practices of our society. French song is a vector of cultural, social, and stylistic values. Throughout the world, songs in the French language are used in the teaching of French: professors incorporate songs into the curriculum in order to illustrate differences of register and linguistic variation, as well as to raise lexical or grammatical questions. As a form of popular expression, song is a genre that has, in recent years, become the focus of serious academic scholarship and criticism. However, few linguists have paid attention to French song and its linguistic uses. This richly illustrated mini-dictionary about French singers fills this gap by offering a collection of portraits of the greatest singers of the French language and how they have constructed the musical landscape in both France and the larger francophone community and the world as a whole. Through (re)discovering these classic and contemporary artists who contribute to the creation of the sonorous universe of the 20th and 21st centuries, the volume determines how these musical genres influence the French language and nourish our collective imagination. By plunging into francophone song, one can achieve a better understanding of the culture and the language of its speakers. (source: Nielsen Book Data) 9781527503540 20180312

From the humble beginnings of Barbra Streisand s career in 1963 to full-fledged stardom in 1966, renowned Life magazine photographer Bill Eppridge had full access to the young singer. He photographed Streisand shopping in a thrift shop; trying on outfits in her apartment; and there s an appearance on the The Tonight Show with Johnny Carson then live from New York. Eppridge documented Streisand meeting with producer David Merrick, who wanted her for the starring role in Broadway s Funny Girl, which catapulted her to celebrity status. By the time Eppridge caught up with Streisand in 1966, she was a star in full orbit. Funny Girl had just wrapped, CBS had signed her to star in three television specials, five of her albums had gone gold and one platinum, and she had received three Grammys and an Emmy. Eppridge photographed Streisand throughout her CBS rehearsals and recording sessions, then went to Paris where he covered her at fashion shows with Marlene Dietrich and Coco Chanel, and captured a Richard Avedon shoot of her for French Vogue. Eppridge s photographs are vivid, candid, and a truly intriguing and unprecedented look at the beginnings of Streisand s career an intimate photo album by a master photographer of one of the most talented performers of our time. (source: Nielsen Book Data) 9780847861545 20181001

In 1965, photographer Jerry Schatzberg, already well-established in the field due to his fashion and portrait photography for various publications, such as Vogue, Esquire and Life, listened to Bob Dylan for the first time. He had been hearing about the singer for close to three years; two friends were especially dogged and would ask him every time they spoke if he had heard the music yet. Finally, feeling obligated to them for their persistency, he listened and understood immediately why Dylan was inspiring such passionate excitement. Shortly thereafter, Schatzberg was photographing a job in his studio and had some fortuitous company. Famed music journalist Al Aronowitz and disc jockey Scott Ross were discussing Dylan and a recent performance they had seen of his. Half listening to their conversation, he volunteered that he'd like to photograph the singer if given the chance. Dylan's new wife (one of the friends mentioned above) called the following day and gave him an open invitation to the studio where he was currently recording 'Highway 61 Revisited'. Excited and curious, Schatzberg set off the very next day for the studio, exactly six days after the seminal Newport Folk Festival set where Dylan went electric and was collectively booed. Schatzberg received a warm welcome from the singer, who immediately sat him down to listen to what he had been recording that day. Dylan gave him free rein of the studio once he started shooting and the images that emerged from that day make obvious the comfortable and relaxed atmosphere that was already brewing between photographer and subject. Considering Dylan's almost-universal dislike of journalists (and by extension photographers), this was a completely unprecedented situation, one that Schatzberg took seriously. That almost-instant trust and rapport quickly grew into a friendship and they are part of the reason Schatzberg's sittings with Dylan work so successfully and are so important. Dylan is relaxed, he's funny, he takes the props that the photographer gives him and has fun with them - he's obviously not taking himself too seriously. Working and socialising together, Schatzberg would eventually do nine more photo shoots with Dylan from 1965-6, arguably the singer's most creative period, and capture the (now) Nobel laureate during one of the most pivotal moments in music history. Part of their uniqueness is their basic broad range of intimate and public locations: music and photography studios, live performances and street portraits. But more than that, each session (including the one for possibly his greatest album, 'Blonde on Blonde') says something different about Dylan, the man and the musician, and manages to perfectly capture the many facets of one of the most unique, complex and mysterious individuals of all time. (source: Nielsen Book Data) 9781851498932 20190204

An electrifying journey through the public and private worlds of pop culture mega-icon Grace Jones contrasts musical sequences with intimate personal footage, all the while brimming with Jones₂s bold aesthetic.

An electrifying journey through the public and private worlds of pop culture mega-icon Grace Jones contrasts musical sequences with intimate personal footage, all the while brimming with Jones₂s bold aesthetic.

Chapter 3: Muhidin Gurumo's Musical Development and Work with Nuta Jazz Band Muhidin Gurumo-The Formative Years (1939-1959) Muhidin Gurumo's Stints with Kilimanjaro Cha Cha Jazz Band, Rufiji Jazz Band, and Kilwa Jazz Band (1959-1964) The Origins and Early Years of NUTA Jazz Band Safari of NUTA Jazz Band and their Emerging Fan Base Growing Mtindo wa Msondo (Msondo Style) Considering Provenance(s)-The Case of the Song "Nimwokoe Nani?" (Whom shall I rescue?)

Muhidin Maalim Gurumo and Hassan Rehani Bitchuka are two of Tanzania's most well-known singers in the popular music genre known as muziki wa dansi (literally, 'music for dancing'), a variation of the Cuban-based rhumba idiom that has been enormously impactful throughout central, eastern, and western Africa in the contemporary era. This interview-based dual biography investigates the lives and careers of these two men from an ethnomusicological and historical perspective. Gurumo had a career spanning fifty years before his death in 2014. Bitchuka has been singing professionally for forty-five years. The two singers, affectionately called mapacha ("the twins") by their colleagues, worked together as partners for thirty years from 1973-2003. This study situates these exemplary individuals as creative agents in a local cultural context, showcasing interviews, narratives, and nostalgic reminiscences about musical life lived under Colonialism, state Socialism, and current politics in the global neoliberal democratic milieu. The book adds to a growing body of work about popular music in Dar es Salaam and shines a light on these artists' creative processes, the choices they have made regarding rare resources, their styles and efficacy in conflict resolution, and their own memories regarding the musical art they have created. (source: Nielsen Book Data) 9781498564397 20180917